Gustav Mahler and the Symphony of the 19th Century : Translated by Neil K. Moran

The Subject Of This Book Is The Semantics Of Symphonic Music From Beethoven To Mahler. Of Fundamental Importance Is The Realization That This Music Is Imbued With Non-musical, Literary, Philosophical And Religious Ideas. It Is Also Clear That Not Only Beethoven, Schubert And Bruckner Were Crucial Role Models For Mahler, But Also The Musical Dramatist Wagner And The Programmatic Symphony Composers Berlioz And Liszt. At The Same Time A Semantic Musical Analysis Of Their Works Reveals For The First Time The Actual Inherent (poetic) Quintessence Of Numerous Orchestral Works Of The 19th Century [publisher Description] Basics Of The Symphony. Mahler's Place In History -- Beethoven And The New Categories Of Symphonic Music -- The History Of The Reception Of Beethoven's Music -- Mahler's Conception Of The Symphonic Cantata -- Borrowings From The Lieder Repertoire -- Aspects Or Architectonics -- Content And Form -- The Cyclic Form Principle And The Programmatic Idea -- Musical Themes And The Poetical Conception -- The Mephisto Movement Of Liszt's Faust Symphony -- The Universality Of The Symphony. Characteristics In General -- Characteristics Derived From Vocal Music -- Characteristics Derived From Instrumental Music -- Scherzo, Scherzando And Dance Characteristics -- Conclusion -- Elements Of The Symphonies. The Symbol In Music -- The Semantics Of The Sounds Of Birds -- Elementary Motifs -- Motifs Of Falling And Symbols Of The Abyss -- Symbols Of Night And Of Sleep -- Satanism And The Crucifix -- Dall Inferno Al Paradiso -- La Gamme Terrifiante -- Rhythmic Leimotifs -- Guiding Sounds (leitklänge) -- Idiophonic Sound Symbols. Flores Constantin ; Translated By Neil K. Moran. Expanded Version Of The German Original Edition: Mahler Und Die Symphonik Des 19. Jahrhunderts In Neuer Deutung. Includes Bibliographical References (pages 291-309) And Index. Cover Table of Contents Introduction First Part: Basics of the Symphony I. Mahler’s place in history 1. Eclectic or original genius? 2. Bruckner-Successor or Bruckner-Antipode? II. Beethoven and the new categories of symphonic music III. The history of the reception of Beethoven’s music IV. Mahler’s conception of the symphonic cantata V. Borrowings from the Lieder repertoire 1. Schubert, Mendelssohn and Brahms 2. Mahler’s intentions with his borrowings VI. Aspects of architectonics 1. Varying number of movements and their arrangements – sectional structuring 2. From Beethoven’s Pastoral and Berlioz’ Fantastique to Mahler’s Titan VII. Content and Form: The “axis” of the new aesthetics VIII. The cyclic form principle and the programmatic idea Beethoven Schubert and Schumann Berlioz Liszt The correlation between music and program in Liszt's Les Préludes Bruckner Tchaikovsky Mahler “Flashbacks”: Six examples from the symphonies of Beethoven,Berlioz, Bruckner and Mahler IX. Musical themes and the “poetical conception” 1. The alteration and ornamentation of thematic characteristics as a means of expression in Berlioz, Liszt and Mahler 2. Simultaneous reduplication of contrasting themes as a means of expression in Berlioz, Liszt, Bruckner and Mahler X. The Mephisto movement of Liszt’s Faust Symphony 1. The themes and Liszt’s method of ornamentation 2. The Malédiction for piano and string orchestra as a source for the Mephisto movement 3. The curse as a central idea of the Mephisto movement 4. Liszt’s setting of the Chorus mysticus Part Two: The Universality of the Symphony XI. Characteristics in general 1. Fundamentals 2. Regarding Adorno’s conception of the “material theory of form in music” XII. Characteristics derived from vocal music 1. Speaking parts: Recitative and Arioso 2. The Chorale: Regarding the meaning of genres in the symphonies of Berlioz, Mendelssohn, Liszt, Bruckner, Brahms and Mahler 3. Hymns: The Hymn in Bruckner and Mahler as well as in Beethoven, Schubert and Brahms 4. Lieder XIII. Characteristics derived from instrumental music 1. March (marziale) and funeral march: The meaning of the category in the symphonies of Berlioz, Liszt, Bruckner and Mahler 2. Entombment music: “like a very slow funeral procession” 3. Pastorale: The genre in Beethoven, Berlioz, Mendelssohn, Liszt, Bizet, Brahms and Mahler 4. “Music from afar”: Orchestra in the distance or illusion of an orchestra in the distance 5. Crescendo (and diminuendo) as sound dynamics expressing musical form: March music from afar, gradually coming closer XIV. Scherzo, scherzando and dance characteristics 1. Fundamentals 2. Minuet 3. Ländler 4. Waltz and Valse XV. Conclusions Structure of the opening movement of Mahler’s Third SymphonyAnalysis in accordance with the characteristics Third Part: Elements of the Symphonies XVI. The symbol in music 1. Explanation of the concept 2. Schering’s conception of the symbol 3. Techniques for solving the problem (heuristic) XVII. The semantics of the sounds of birds 1. Birdcalls and sounds as the “sounds of nature” 2. Mahler and the birdcalls in Beethoven’s “Scene at the brook” 3. Mahler and birdcalls in Wagner’s “Forest murmurs” 4. The “bird of the night” 5. The “bird of death”. The song of the nightingale as the “echo of earthly life” 6. Bird cantilenas, duets and concerts XVIII. Elementary Motifs 1. Calls and signals 2. Sighing motifs: Plaintive cries, woes, motifs of suffering, “screams” XIX. Motifs of falling and symbols of the abyss XX. Symbols of night and of sleep XXI. Satanism and the Crucifix The polarity of the spiritual world in the music of Franz Liszt 1. Liszt’s attraction to Goethe’s Faust and Dante’s Divine Comedy 2. The polarity between calamity and victory 3. The diabolus in musica and the “tonal symbol of the Cross” XXII. “Dall’ Inferno al Paradiso” 1. Regarding a fundamental philosophical-poetical idea in thesymphonies of Liszt and Mahler 2. Inferno and Lucifer motifs in Liszt, Tchaikovsky and Mahler 3. The “tonal symbol of the Cross” as a representation of the“heavenly” in Wagner, Mahler, Bruckner and Tchaikovsky 4. Motifs for “eternity” in Wagner and Mahler XXIII. La Gamme terrifiante: The history of the whole tone scale XXIV. Rhythmic Leitmotifs Symbols of death, fate and combat Beethoven Liszt Wagner and Bruckner Strauss Tchaikovsky Mahler XXV. Guiding sounds (Leitklänge) Characteristic chords and symbols 1. An “eerie“ minor third chord as a tonal symbol in Wagner, Liszt, Mahler and Strauss 2. Major-minor motivic shifts in Schubert, Mahler, Strauss and Brahms 3. The “terrifying fanfare” in Beethoven’s Ninth and in Mahler’s Second 4. Four note chords as mottos 5. Neapolitan sixth chords and dissonances at climaxes in Mahler, Schubert and Strauss Neapolitan Sixth and Fifth-Sixth Chords Diminished Seventh Chords ‘Minor’ Ninth Chords Double Leading Tone Sounds and Double Dominant Sounds Thirteenth Chords 6. The shape of Bruckner’s climaxes 7. The nine-tone sound in the Adagio of Mahler’s Tenth 8. Regarding the technique of imprévu: A “frightening note” in Beethoven, Berlioz, Bruckner and Mahler XXVI. Idiophonic sound symbols 1. Regarding sound symbols generally 2. The tamtam as a funereal and macabre sound symbol in Mahler, Wagner, Liszt, Strauss, Tchaikovsky, Schönberg and Berg 3. Bell sounds in Berlioz, Liszt and Strauss 4. Bell sounds and a sound symbol for the eternal in Mahler 5. The symbolic and coloring functions of the Glockenspiel 6. Cowbells as a sound symbol for “otherworldly solitude” Epilogue Abbreviations Notes Selected Bibliography List of Tables Tables Index This book presents fourteen original contributions by authors examining the importance of dwellings and local communities in people's everyday lives. Through qualitative research conducted in North America and Europe, the volume explores the ways in which home is created both ideally and practically, at levels ranging from individual housing units to neighborhoods and public spaces. Even when the circumstances of making one's home deviate from cultural ideals - for instance, in crowded, institutional, or stigmatized housing contexts, in disadvantaged or transient neighborhoods, or when one has The volume revisions Shakespeare studies from an international, mainly feminist or gender, perspective. It sheds a new light on Shakespeare through the work of women from all over the world: actresses, directors, writers and others, who appropriated Shakespeare according to their specific social and cultural milieu and political situations. Music is no mere play of sound, no mere tonal texture, but has a significant psychic, spiritual/intellectual and social dimension. This title investigates the question of how changes in the conception of love are reflected in music and concludes with a warning of a dehumanized world.